Cantara, former ASCAP solfeggist and 70s porn actress turned screenplay writer, has fallen hopelessly in love with a man on the other side of the world, an English, middling orchestra conductor who specializes in Golden Age of Hollywood music and The Great American Songbook, by the name of John Wilson.
Not because he’s a fellow creator (he doesn’t create, but reconstructs and conducts music)—not because of his looks (he’s peaky, scrawny, blinky; his gray-green eyes lack luster; he’s got a facial tic, lousy posture, and the hands of a hod carrier; his nose is an equilateral triangle; his famous cleft chin, supposedly his best feature, always looks slightly askew; his ultra-short mousy hair can’t conceal the fact he’s already going gray; he sweats like a stevedore on the podium; and for the past few years he’s taken to wearing geek glasses)—and certainly not for his intellect (his fatuous pronouncement about the needlessness of lyrics in The Great American Songbook makes me want to smack the back of his head like the whippersnapper he is and send him home with a note).
So what is it about him? Honestly, at this point I don’t know. I’ve only been aware of his existence since April 30 and in love with him since May 4. But there are three things I do know for sure: His ear (the way he hears things) is intriguing, his industriousness is admirable, and his musicianship at times is kiiind of brilliant.
Here‘s Sarah Willis’s 2016 interview with John and key members of his own eponymous orchestra where his technique in bringing out “The Hollywood Sound” is discussed. Discussion of his string technique with Sarah and JWO’s first violinist starts at 5:40.
All the rest of this is just Cantara trying to sort out where bonny John fits into her inner life. Which as it turns out right now is in every nook, every cranny…